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All Journal Gelar : Jurnal Seni Budaya ARTISTIC : International Journal of Creation and Innovation
Tatik Harpawati
ISI Surakarta
Arts Humanities Languange, Linguistic, Communication & Media

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BAHASA UNGKAPAN DALAM PERTUNJUKAN WAYANG KULIT SEBAGAI CERMIN PANDANGAN HIDUP Tatik Harpawati; Jaka Rianto
Gelar : Jurnal Seni Budaya Vol 10, No 1 (2012)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (2000.835 KB) | DOI: 10.33153/glr.v10i1.1383

Abstract

Expression language is a product of Javanese culture. Therefore, the expression for the Java  language is a reflection of local wisdom . Expression language in the realm of Javanese literature has variations designations, such proverbs, peribahasan, bebasan, saloka, and pepindhan. Expression language in the Wayang indeed a product so as to interpret the      Javanese to be seen by the Javanese worldview. The use of the expression language puppet show scattered in chess (Janturan, pocapan, and ginem). The problem in this article, namely how to form a language expression, functions, and values   of life contained therein. The goal is to describe, an explanation of the expression language function, and get an explanation of the values   of life contained therein. Based on the key word  metaphors, expression language in the Wayang classified into eight types, namely:  animals, plants, people, body parts, relatives, things in heaven, things in earth, and water. Based on the study of the meaning of the obtained results that address how people live in harmony with family, friends, community, neighborhood, country, and God. Different outlook on life is packaged in the form of language and expression when applied in chess puppet show that will add weight to the aesthetic presentation.      Key words : expression language, puppet show, the value of life
MENDIDIK TANPA MENGGURUI MELALUI DONGENG ANAK Trisno Santoso; Tatik Harpawati; Nanik Prihartanti
Gelar : Jurnal Seni Budaya Vol 7, No 2 (2009)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (5778.513 KB) | DOI: 10.33153/glr.v7i2.1297

Abstract

This plan tris to create a story form carried out by children. The children will fell the function of the story more real, they do not only become hears but also can use it as a developing media for their characteristics and personalities in accordance to the need, ability as well as psychology belong to children of 7 years until 12 years in elementary or intermediate school (Madrasah Iftidaiyah). This research aims to produce guie-line to tell story for children and it is hoped to be used as an effort to develop arts creativities for the elementary students. Some steps are taken to reach the target starting from observation towards learning and teaching activities in several elementary schools in Surakarta. the design of story telling guide-line is made attractively inorder hat it can raise the students’ interest to express their personal creativities in front of audiences harmoniously and structurally. For the reason, the main target is that children will be able to tell story skillfully and attractively. The forms of the plan including: (1) Buku Pedoman Tehnik Mendongeng dan Materi Cerita (The Guide-line of Story Telling Technique and Story Material; (2) Practical instructions for story telling completed with examples of stories and the performing forms to identify problems found in subject material, demonstrating instruments, the ways of conveying, and the achieve result. Other product of this research is a guide-line for story telling and its needed equiprment according to the physic and psychology belong to children of 7 years to 12 years. Based on the result, socialization is executed in order to test whether the result of the plan is surely effective, efficient, and multifunctional as a unified learning media in accordance to the children’s needs and abilities or not. Key words : story, children, personality, creativity
Transformasi Cerita Serat Menak dalam Pertunjukan Wayang Golek Menak Tatik Harpawati
Gelar : Jurnal Seni Budaya Vol 7, No 1 (2009)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (5739.486 KB) | DOI: 10.33153/glr.v7i1.1253

Abstract

The change of form from written literature to performing arts produces a new genre, for the reason, transformation of all intrinsic as well extrinsic aspects are complex and varied the changes in performing arts which come from serat menak show that serat menak has had transformation. Concerning that serat menak is adaptation form Hikayat Amir, it is not impossible that artists of wayang golek menak may base their works directly form the original work. The aims of this discussion include (1) describing story (lakon) wayang golek menak; (2) describing transformation forms of serat menak in lakon wayang golek menak covering character, setting, story, and theme; (3) mapping the development of serat menak in lakon wayang golek menak. The aims will be fulfilled by using reception and intertextual approaches approaches. Based on both approaches, it can be found out that serat menak becomes the source of some stories (lakon) in wayang golek menak. Transformation of story can be seen in the hiprogramming stories in serat menak. Story pattern in wayang golek menak manak have double characters. Transformation of setting can be found in the addition and different names of places where the story happens. Transformation of character appears in the change of name and the additional new names for not basic characters. The difference and addition of name, place and character occur because of the different pronounciation, miss information, as well as the dalang creativities in recept serat menak. The reason is that the performance of wayang golek menak is inherited orally so that the development of serat menak in lakon wayang golek menak is very extensive and complex. Dalang can freely create lakon in accordance to his view and his family as well as social cultural background.Keyword : Transformation, Serat Menak, Wayang Golek Menak
SURONO'S CROSS-STYLED CREATION IN THE SHADOW PUPPET PERFORMANCE Chatur Rhama; Tatik Harpawati
ARTISTIC : International Journal of Creation and Innovation Vol 4, No 1 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/artistic.v4i1.5068

Abstract

Surono Gondo Taruno's shadow puppet (wayang kulit) performance has a distinctive cross-style, making him a famous puppeteer in East Java. Accordingly, this discussion seeks to answer the question, "What is the cross-style of Surono's wayang figures in the Wahyu Wijaya Kusuma play? This discussion uses a qualitative method with Sunardi and Umar Kayam's cross-styled approach. Observational and interview-based were analyzed descriptively and qualitatively. The study results indicate that Surono's performance uses a cross-styled approach between the Surakarta style as the dominant style and the East Java and the Yogyakarta styles as the supporters. Surono's cross-style has made his performance attractive to contemporary spectators.
Co-Authors Chatur Rhama Jaka Rianto Nanik Prihartanti Trisno Santoso